The long-awaited solo album from Decca’s star cellist sees Weilerstein revealing and revelling in her technique. The American cellist has attracted widespread attention worldwide for her combination of natural virtuosic command and technical precision with impassioned musicianship. The intensity of her playing has regularly been lauded, as has the spontaneity and sensitivity of her interpretations. Committed to expanding the cello repertoire, Alisa is a fervent champion of new music and this release is her first solo album.

Calling for left hand pizzicato as well an alternative tuning of the cello’s lower strings, Kodaly’s Sonata was far ahead of the time in which it was written and explored every facet of the cello, revealing what could be done with this instrument.
Many of Kodaly’s works are based upon Hungarian folksongs & dances, and this theme inspires the rest of the album, with works from the in-vogue Argentinian composer Osvaldo Golijov, across the world to the Chinese composer Bright Sheng.
Sheng’s work is based on seven tunes from China (Seasons, Guessing Song, The Little Cabbage, The Drunken Fisherman, Diu Diu Dong, Pastoral Ballade, Tibetan Dance). Golijov’s Omaramor is a musically playful fantasia inspired by Carols Gardel (the Argentine tango specialist); and Gaspar Cassado’s Suite, consisting of three dance movements, quotes the Kodaly work.
The most substantial item of additional content, the Ligeti sonata, has two movements: the first has a melody deliberately written with a typical Hungarian profile, heavily influenced by Kodaly; the second is a virtuosic piece in sonata form.